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PAINTINGS BY THE OLD MASTERS 
AND EARLY ENGLISH ARTISTS 


THE VALUABLE PRIVATE COLLECTION 


OF THE LATE 


LEON HIRSCH 


TO BE SOLD UNDER. THE MANAGEMENT OF 


THE AMERICAN ART ASSOCIATION. . 
NEW YORK 


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| ON EREE PUBLIC: VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING SATURDAY, JANUARY 24th, 1914 


AND CONTINUING UNTIL THE MORNING OF THE DATE OF 
SALE, INCLUSIVE 


PAINTINGS BY THE OLD MASTERS 


~AND EARLY ENGLISH ARTISTS 


THE’ PRIVATE COLLECTION 


OF THE LATE 


_ LEON HIRSCH 


OF NEW YORK 


~ UNRESTRICTED PUBLIC SALE | 


IN THE GRAND BALLROOM 
OF 


THE PLAZA HOTEL 


FIFTH AVENUE, 58th TO 59th STREET, NEW YORK 


ON THURSDAY EVENING, JANUARY 29th 
BEGINNING AT 8.30 O’CLOCK | 


ILLUSTRATED CATALOGUE 
OF 


HHE PRIVADLB* COLLECTION 


VALUABLE PAINTINGS 


BY THE OLD MASTERS AND EARLY ENGLISH ARTISTS 


FORMED BY THE LATE 


LEON HIRSCH 


OF NEW YORK 


Poet oD AT UNRESTRIGIED PUBLIC:SALE 


BY ORDER OF JOSEPH HIRSCH, REBECCA HIRSCH 
AND NATHAN HIRSCH, EXECUTORS 


IN THE GRAND BALLROOM OF THE 
PLAZA HOTEL 


ON THE DATE HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, OF 


THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK 
1914 


/ 2 ES 


er 


CONDITIONS OF SALE 


1, Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale Hogar iarok 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either decide 
the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for the 
enforcement of the sale, or may at public or private sale, and without 
other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale shall be 
a alee against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Delivery will not be made of any purchase during the session of” 
the sale at which it was sold. 

Delivery will not be made of any purchase at any time other than 
between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

5. Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, and will not be performed 
by the Association for purchasers. The Association will,- however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 


for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

7%. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of 
any lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 
foundation. 


SPECIAL NOTICE. 


Buying or bidding by the Association for responsible parties on 
orders transmitted to it by mail, telegraph or telephone, will be faith- 
fully attended to without charge or commission. Any purchase so 
made will be subject to the above Conditions of Sale, which cannot 
in any manner be modified. The Association, however, in the event of 
making a purchase of a lot consisting of one or more books for a pur- 
chaser who has not, through himself or his agent, been present at 
the exhibition or sale, will permit such lot to be returned within ten 
days from the date of sale, and the purchase money will be returned, 
if the lot in any material manner differs from its catalogue description. 

Orders for execution by the Association should be written and 
given with such plainness as to leave no room for misunderstanding. 
Not only should the lot number be given, but also the title, and bids 
should be stated to be so much for the lot, and when the lot consists 
of one or more volumes of books or objects of art, the bid per volume 
or piece should also be stated. If the one transmitting the order is 
unknown to the Association, a deposit should be sent or reference sub- 
mitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, 
will be furnished by the Association at a reasonable charge. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


PREFATORY NOTE 


The late Leon Hirsch of New York City, who collected 
and owned the pictures listed in this catalogue and now to be 
dispersed at public competition by the order of the executors 
of his estate, acquired his paintings from the almost unique 
standpoint of an expert judge. An amateur, who prosecuted 
his studies with the constant aim of acquiring connoisseurship 
in the old masters, he did not call himself an expert although 
he has been called and considered such by those who were 
themselves authorities. Certain it is that his judgment has 
been repeatedly confirmed by the German experts who have 
stamped their personalities on the world of art and whose 
opinions are accepted in the courts of the highest and _ last 
resort. 

Mr. Hirsch made it his practice not only to study and.then 
to buy on his own judgment, but to seek the professional 
opinion of great experts, with many of whom he was ac- 
quainted, and whom he consulted on both sides-of the Western 
ocean. ‘They certified in some instances absolutely, and in 
others to the best of their opinion, as to the authenticity and 
authorship of many of his Old Masters on which he sought 
their advice and judgment. 

In consonance with his views and practice the executors 
have put forth in the catalogue the pronouncements of these 
experts: Dr. Wilhelm Bode, General Director of the German 
Museums and expert to his Imperial Majesty, the German 
Emperor; Dr. Max J. Friedlander of the Kaiser Friedrich 
Museum in Berlin; Dr. Rudolf Oldenbourg of the Pinakothek, 
Munich; Dr. W. R. Valentiner of the Metropolitan Museum 
of Art, New York; Dr. Kurt Erasmus of the house of M. 


Knoedler & Co., New York, London and Paris; and E. 
Beruete y Moret of Madrid. Others of his paintings are 
recorded in books by Dr. C. Hofstede de Groot. 

The originals of the certificates given by these gentlemen 
will pass to the purchasers of the canvases. 

The unusual character—among collections of Old Masters 
offered to the public—of this collection, assembled on the judg- 
ment of a traveled and cultured student of old paintings and 
the arts, invites the attention of collectors and general buyers 
of paintings, and offers rare opportunities for interesting com- 
parison to those who are familiar with the great galleries of 
Europe. 


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ALOGUE 


SALE THURSDAY: Hy aa 
Pe ASR LAS Tela S 


Firth AVENUE, 58TH TO 59TH STREE 


BEGINNING AT 8.30 O’ CLOCK. ps 


B50. = 
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No. i 


MARIANO FORTUNY Y CARBO 
SpaAnisH: 1841—1874 


MAN READING 
(Water Color) 


Height, 91% inches; width, 6°4 inches 


SEATED beside a table on which he leans with his right arm, 
a cavalier in a seventeenth century Dutch costume is facing 
the spectator, his head turned slightly to his right as he reads 
a paper which he holds in both hands. He is pictured at full 
length, his knees apart and left foot extended. He wears a 
gray coat and old-red breeches, a broad-brimmed gray hat 
with conical crown and trimmed with blue, yellow leather 
boots with wide, turned-down cuffs, and mauve stockings. 
His hair in long, full curls falls to his shoulders, and a sword 
hangs at his side. 


Signed at the lower left, Forruny, 1871. 


yee 


No. 2 
ANTON MAUVE 
Dutcu: 1838—1888 


ALONG THE RIVER 
(Water Color) 
Height, 6 inches; length, 9 mches 


On a fair and breezy summer day a bit of the Dutch landscape 
is shown, stretching along a useful river, and extending across 
the picture with a narrow section of the river’s breadth as 
the foreground. On the left, before a bunch of green trees 
of thick foliage, are seen the ways of a small shipyard, with 
the stern of a yellow boat that has been hauled out, and a 
laborer in a faded pink blouse working below her counter. 
Near by are other craft stripped of their sails, their tall spars 
standing against a fair blue sky largely filled with gray-white 
clouds, and birds are sailing in the air high aloft. Beside 
these boats, of pinkish and purplish yellow tones, more figures 
are noticed, and beyond the trees are red roofs of buildings, 
while the water is filled with soft, many-hued reflections. 


Signed at the lower left, A. Mauve. 


No. 3 


JAKOB MARIS 
Dutrcu: 1838—1899 


ALONG THE QUAY 
(Water Color) 


Height, 81% imches; length, 13 inches 


ABOVE the gray waters of a broad canal or river occupying 
the right foreground and middle distance hang heavy gray 
clouds in a lighter gray sky, and across the stream in a misty 
distance are to be seen the buildings and tall towers of an 
industrial city. On the left, from foreground to middle 
distance, is the angle of a gray quay, alongside which cumbrous 
freight sailboats are drawn up near a sturdy lifting-crane. 
Other sailing craft lie out in the stream, and a dredge is at work 
there, and in the foreground two men in blue, white and brown 
are rowing a broad, heavy small-boat. 


Signed at the lower right, J. Marts. 


No. 4 ioe 


FRANCESCO GUARDI ie aa 
Travian: 1712—1793 


BY THE WATER 
(Pen and Wash Drawing) 
Height, 91% inches; width, 9 inches 


BETWEEN double Corinthian columns at left and right, sur- 
mounting stone walls connected by a low-arched bridge, the 
observer looks to a lagoon or broad canal, on the smooth sur- 
face of which is a single sailboat with two men aboard. Beyond 
are descried low shores with occasional buildings and detached 
trees, under a clear sky with light gray summer clouds. In 
the foreground a skiff is drawn up against a point of the 
bank, a man in it and another on the shore working over some 
fishnets. Undoubtedly a Venetian study. 


Signed at the lower right, Guarnt. 


From the collection of Sir Joshua Reynolds. 
The collection of Filchett Marsh. 


The collection of Richard Cosway. 
Purchased from the Fischer Art Galleries. 


No. 5 
JOSEPH MALLORD WILLIAM TURNER, R.A. 


Eneutsy: 1775—1851 : 
RUINS N. 4. Fad coms pe 


(Water Color) f 15 
Height, 61% inches; length, 10 inches ce 
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AN enormous castle, in ruins, almost fills the picture. On the 
right a wall of towering arches stands pathetically, almost 
wholly separated from the irregular mass of the center and 
left, where square towers and gable peaks, and occasional tall 
columns, cluster behind green trees which had not grown in 
the days of the castle’s might. The pile stands on a low hill 
beyond a moat or stream that winds down from the left and 
across the foreground, and the light from the sky throws 
shadows of walls and trees forward on the yellow-green banks 
above the gray water. In the mass the picturesque ruins are 
a dull pink and gray and yellow, with the sky showing through 
the empty, useless windows. 


hee.” 


No. 6 


JOSEPH MALLORD WILLIAM TURNER, R.A. 
ENGLISH: 1775—1851 


TOWERING CLIFFS 
(Water Color) 
Height, 8 inches; length, 13 inches 


Tau. cliffs, gray and purple-brown, and green-tinted by moss 
and weather, rise on the right against a stormy gray sky which 
toward the left is full of light. Sculptured by nature into 
semblance of ancient castle towers, the cliffs seem to stand 
guard over a road passing at their base on the left, on which 
a cart is making its slow way. The road is yellow-sandy under 
the light from the brighter part of the sky, which also ac- 
centuates a section of the cliffs resembling twin towers of a 
ruined fortified castle. Green grass grows on the slopes near 
the roadside, and green vegetation has a foothold on ledges 
of the cliffside. 


No. 7 


JOSEPH MALLORD WILLIAM TURNER, R.A. 
EncutsH: 1775—1851 


CATHEDRAL IN RUINS 
(Water Color) 
Height, 11 inches; width, 8 inches 


ProJECTING into the picture from the right, in the middle 
distance, is the broken mass of a Gothic cathedral, a lesser 
corner tower standing, with adjacent walls and gaping win- 
dows. The structure is roofless, and the distant walls are 
visible across the vast interior through a wide breach and 
through the tall openings of windows and doors. 'The earth is 
uneven about the building, stones strew the ground, and the 
figure of a girl in a white waist and red skirt is observed as 
she is making her way toward the ruins. In the left fore- 


_ ground a column supported on a stone base and which may 


once have been surmounted by a cross rises solemnly heaven- 
ward, and two persons are at its base, one seated, with back 
to the spectator, on its stepped foundation, and one standing, 
leaning forward. In the left distance, across a deserted land- 
scape, are low buildings before a light sky. The whole draw- 
ing is in tones of brown and gray. 


No. 8 


GELDORP GORTZIUS Ubwetic 
Dutcu: 1553—1611 B bo. 


PORTRAIT OF A MAN 
(Panel) 


Height, 1234 inches; width, 111% wmches 


THE head and shoulders of a substantial citizen, solidly por- 
trayed, who looks keenly with a not ungenial scepticism upon 
a world that does not abash him. He is facing the left, three- 
quarters front, his large brown eyes, with shadows below them, 
rolled toward the spectator, at whom his calm and steady gaze 
is for the moment directed. The light falls upon his high, 
broad forehead and rosy-hued cheeks, leaving transparent 
shadows beneath the eyes. His red-sandy mustache and 
pointed beard are close-cropped, and his only slightly darker 
hair of similar hue falls rather long over his ears, while his 
pate is partly bald. Within his black velvet cloak and up- 
turned collar an edge of his gray jacket is seen, with a bit of 
bluish-white lace or scarf at the throat. 

Dr. Friedlander, speaking of this portrait in a letter to Mr. Hirsch written 


on board the steamship Agusta Victoria on November 24, 1909, said: “Gortzius is 
undoubtedly the correct attribution.” 


No. 9 


DAVID TENIERS (THE YOUNGER) 
Fiemisu: 1610—1690 


INTERIOR WITH FIGURES 
(Panel) 


Height, 1144 mches; width, 834 inches 


A SNAPPING fire blazes on the hearth in a tall fireplace at the 
left, in a humble interior with olive-brown walls. A peasant 
in brown who smokes a long-stemmed clay pipe stands with his 
back to the fire, one hand behind him, the other attending his 
pipe. Seated on a box or blocks of wood before the fire a man 
in a green tunic and brown pantaloons, and wearing a long 
feather in his rather rakish hat, is reading from an unfolded 
paper or sheet of music, a pitcher at his side. Like the smoker, 
he is seen in profile, but facing the fire. Behind him another 
peasant in brown blouse and breeches stands leaning against 
the wall, his back to the onlooker. 


Signed at the lower right with the monogram, D.T. 


Dr. W. R. Valentiner wrote on May 6, 1911: “The painting by Teniers the 
Younger, depicting three figures in an inn, is in my opinion a genuine, early piece 
of work by this artist.” 


No. 10 
PEASANTS’ REPAST 


j BY 


ADRIAEN VAN OSTADE 


No. 10 


ADRIAEN VAN OSTADE 
Dutcu: 1610—1685 


PEASANTS REPAST 
(Panel) 


Height, 9%4 inches; length, 184% inches 


Five peasants of heavy features and bulbous noses are refresh- 
ing the inner man with food and drink. Three are grouped 
about a table, seated on chairs or benches—one venerable and 
bent-shouldered in an ancient blue costume who leans over the 
table, knife and spoon in hand, talking and facing the left, 
turned three-quarters from the spectator; one in an old red 
blouse, schoppen in hand, across the table; a third at the left 
sprawling in his chair and like his fellows having a maudlin 
stare, who faces the spectator, knife in hand and jar in the 
bend of his elbow, this man wearing a gray-white shirt and 
yellow pantaloons. Behind them a man in gray-blue blouse 
and red cap stands drinking from a pitcher, and far at the left, 
beyond an overturned bench, a squat yokel seated on a barrel- 
top turns from his soup to look with open mouth and mirthless 
grin at the others. In the foreground a gray cat curled com- 
fortably on the floor laps her lunch before an upset basket; at 
the right is a great fireplace or forge chimney-blower, and 
across the background are brown and gray-green walls. 


Writing on board the steamship Augusta Victoria on November 24, 1909, Dr. 
Friedlander said: “I was more than pleased with the van Ostade which I found 
at your home. The life-like figures are not so highly colored as in his later works, 
but have certainly a freshness and a design that are equally good.” 

Dr. W. R. Valentiner, under date of February 3, 1910, wrote: “I am quite 
sure that the A. van Ostade is genuine, and very typical. It is rather an early | 
work, done about 1630-40, when the artist was still under the influence of Adrian 
Brouwer.” 


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No. 11 
STUDY OF A MAN 
BY 
PETER PAUL RUBENS 


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PETER PAUL: RUBENS 
Friemisu: 1577—1640 


STUDY OF A MAN 
(Panel) 


Height, 12 inches; width, 1034 inches 


A VIGOROUSLY painted study of the head of a rugged man in 
his full prime. He is turned to the left, with head thrown well 
back, and is looking upward with intent gaze and apparent 
strength of purpose, his face seen a little more than in profile. 
His brow is seamed and his cheeks are lined; his complexion is 
full-red. He wears a short, sparse, sandy-red beard and 
mustache, and his short curly hair is of similar tint though 
inclining toward the yellow. His shirt or blouse of white and 
gray is open at the throat, revealing a muscular neck. 


Mentioned by Dr. W. R. Valentiner in his Zeitschrift fiir bildende Kunst, 1911. 

Dr. Valentiner has written specially about this picture in his art magazine, 
published in this city, as one of the prominent Rubens studies in America. 

Dr. Friedlander, in a letter dated on board the steamship Augusta Victoria, 
November 24, 1909, wrote: “I consider the Rubens sketch an excellent one, by 
the hand of the great master.” 

In a letter of February 10, 1912, Dr. R. Oldenbourg wrote from Munich: 
“Especially interesting is the study for a head, by Rubens, as I have lately studied 
the works of this master more closely. Your painting seems to have been created 
fairly early, about 1615, together with ‘The Man in the Fur Coat’ in the Vienna 
gallery, the technique of which is very similar. 

“It is undoubtedly a study for ‘The Ascension of Mary’ or a similar picture, 
and was painted by Rubens as an example from which his pupils had to execute 
large commissions. The picture interests me very much.” 


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No. 12 
JOOS VAN CLEEF (THE ELDER) 


(Known as ‘‘ The Master of the Death of the Virgin’’) 
FiemisH: Earty XVITH Century (—1540) 


HOLY FAMILY 
(Panel) 


Height, 1634 mches; width, 12% inches 


Tue Virgin appears at three-quarter length, seated and facing 
the left, three-quarters front, her figure occupying a large pro- 
portion of the picture. Her dark gown, almost black, is 
crossed at the square neck-opening by a gold-colored band. 
Her wavy, yellow-blond hair falls over her shoulders, below a 
gray-white mantle, and she wears a fur-trimmed red cloak 
enfolding her shoulders and draped across her lap, where, on 
a blue-white scarf, she holds the nude, reclining Child, who 
faces forward and toward the left, clasping a fruit in one 
raised hand. Below Him, at the Mother’s knee, on a table 
with an olive-yellow coverlet is a dish of fruit and an illumi- 
nated devotional volume. Joseph appears as at a window, a 
green and hilly landscape behind him, standing and looking 
down at the Child, his fingers making the sign of blessing. 


Replicas of this composition are in the Holford Collection, London, and 
the Imperial Museum, Vienna; and a replica in the collection of 
the late Robert Hoe of New York passed at the Hoe sale in 1911 
to the possession of The Kleinberger Galleries. 


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JAN VAN HEMESSEN 
Fremisu: 1540—1560 


MADONNA AND CHILD 
(Panel) 


Height, 1614 inches; width, 12%4 inches 


Tue Mother is portrayed at three-quarter length, seated, be- 
side a tree of substantial trunk which rises out of the picture 
on the left, a little of its foliage only showing as a modest leafy 
canopy of dark green over her head and that of the Child 
whom she holds standing on her knees. He is nude, save for 
a pale blue drapery, and the fingers of His upraised hand are 
held in the attitude of blessing above His head. The Virgin is 
in rich robes of blue-green and red, with fur and lace and 
a brilliant jeweled brooch or clasp, and is painted with a 
minute and affectionate delicacy. Her flowing hair of blonde 
cendrée tint, escaping from its fine lace covering, is brilliant 
with golden lights which are repeated in the short-cropped and 
curly hair of the Child. In the background is a blue and green 
landscape of hills, farmlands and forest, and a cottage and two 
figures are visible on the right. 


(See Dr. Max J. Friedlander’s certificate reproduced on the following page, 
facing illustration.) 


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No. 14 Weel ne gMerte. 


KARL BREYDEL B/7 
FremisH: 1677—1744 


BATTLE SCENE 
(Panel) 


Height, 111% inches; length, 18 inches 


AN ancient scene of battle is depicted, with great numbers of 
troops engaged, horsemen and infantry and wagon trains, in 
a broad and spacious valley between high hills or mountains 
and before a city lying beyond a river. It has been con- 
jectured that the picture is a representation of the Austrians 
fighting against the ‘Turks outside Vienna. The whole fore- 
ground is filled with fighting men, on horseback, and prone on 
the ground, dying. Some wear turbans, some European hats, 
and some are hatless in the heat of combat. Officers and men 
in red and blue, on brown and gray horses, rush at each other 
in a conspicuous group in the central foreground, among their 
fallen companions at arms and sprawling, wounded horses, 
with detachments fighting at either side of them. Other 
battling forces are engaged, amid smoke, throughout the 
middle distance, the lofty hill on the left throwing a part of the 
field into partial shadow, while sunlight strikes the eminence 
on the right, a castellated structure near it, and the city in the 
distance between the heights, lying beyond her blue river on 
which various sail are seen bunched about a landing while 
other sail are coming up. 


Signed at the lower right, BreypEt. 


No. 15 


CORNELIS VAN HAARLEM 
Dutrcu: 1562—1638 


THE JOVIAL COMPANY 
(Panel) 


Height, 12% inches; length, 144 mches 


Against a plain background of mouse-brown and olive, five 
peasants are pictured regaling themselves in a simple and un- 
affected manner. They are grouped about a round wooden 
table, four men and a woman, seated on low, heavy wooden 
benches. In front, her figure turned toward the left, and fac- 
ing the spectator, the young woman, who is clad in solid 
green with slashed sleeves, is looking up to a bearded man in 
creamy-yellow and old rose who is slyly making love to her 
while his bibulous companions are busy with their pipes and 
glasses. One pulls heartily on his pipe, another is lighting his 
pipe from a brazier on the table, and the third, on the left, holds 
aloft his wineglass in one hand, in the other clutching the 
capacious pitcher. Broken pipes and stems lie on the table 
and floor. 


From the collection of the late John La Farge, N.A. 


Of this canvas Dr. W. R. Valentiner wrote, May 6, 1911: “‘Die lustige 
Gesellschaft? (‘The Jovial Company’), from the collection of Mr. John La Farge, 
is a very remarkable painting by Cornelius van Haarlem, which proves that the 
artist, in his later days, came under the influence of the society painters of 
Haarlem of the time of Frans Hals.” 


No. 16 


$ aes 
FRANCESCO GUARDI AKO, 
Trauian: 1712—1793 


LANDSCAPE WITH FIGURES AND HORSES 
Height, 141% inches; length, 1914 inches 


Art right and left in the foreground and middle distance are 
rambling architectural piles, on either side of a blue and silver- 
gray river which cuts the landscape diagonally; and in the 
dim and distant background are faintly discernible blue moun- 
tains in a transverse range with rolling summits. The sky is 
pale azure, veiled with nebulous curtains of white, against 
which are seen birds in flight high in the air. On the right of 
the foreground a woman afoot with a head-load and a mounted 
man following her are making their way through an arch at 
the border of the river. Across the stream at the left two 
horsemen in rich apparel are riding along the bank, and other 
figures are to be seen there, one a man up to his knees in the 
water. Above one of the housetops white linen is drying in the 
sun. The walls of the many-shaped buildings and their round, 
gabled and sagging roofs are attractive in low tones of creamy- 
yellow, rose-pink, olive, and mahogany-brown; and the paint- 
ing is loose and noticeably “modern” in style. 


No. 17 
GERRIT WILLEMS HORST 


Dutcu Scuoor: Purm or REMBRANDT 


ELISHA AND THE SHUNAMMITE WOMAN 
(Panel) 


Height, 16 inches; length, 1614 inches 


Crouns of dark, thunder-head hue hang over mountain sum- 
mits at the right, and huge cumulus masses are gray-white, 
yellowish, and lavender-rose as they swirl before a light blue 
sky on the left. On a ledge below the high cliff of Mount 
Carmel at the right stands the venerable prophet, in a yellow 
gown and bright red cloak, barefoot, bearded, and bald, with 
a hand extended in blessing over the Shunammite woman, who 
kneels with bowed head and clasped hands before him, an- 
nouncing the death of her son. She has reddish-yellow hair 
and wears a dark green jacket with a garnet girdle over her 
white underdress. Gehazi leans over her and beyond him are 
seen a woman and an ass, while in the distance pine trees rise 
above a wooded landscape and houses perch upon the edge of 
a cliff. Below on the left runs a gray and white river, its 
course carrying it over a dam or spill-way. 


Dr. W. R. Valentiner, writing on November 24, 1910, said of this canvas: “The 
picture representing Elisha and the woman has a genuine signature, which, as far: 


as I can make it out, is that of W. Horst, 1657—the rare pupil of Rembrandt, 3t : 


two large paintings by whom are in the Kaiser Friedrich Museum at Berlin.” 


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No. 18 
; Was THE VIRGIN PRAYING 


SPANISH SCHOOL 


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No. 18 
SPANISH SCHOOL 


SpanisH ScHooLt: XVITH CENTURY 


THE VIRGIN PRAYING 
Height, 181% inches; width, 14 inches 


A PAINTING almost in the primitive manner, with an exquisite 
delicacy and freshness of color, which has baffled the critics 
since its discovery in a Cuban church; some have given it to the 
Spanish school, others to the Italian—all alike taken with its 
beauty. The Virgin is shown at half-length, facing front, her 
head inclined slightly toward her right shoulder, her half- 
closed eyes gazing piously down, and her slender hands joined 
in an attitude of prayer. A strong light from the left strikes 
broadly upon the beautiful, girlish face and white throat, mak- 
ing a marked shadow between her chin and the flowing, golden- 
brown curls which fall at either side of the fair face to her 
shoulders. Her head is enwrapped in a soft brown and gray- 
white mantle that hangs gracefully about her shoulders, and 
she wears a full red gown under a cloak of rich, glowing blue. 
The background is of a neutral olive-brown tone. 


This picture has been attributed by Dr. Williamson to Fra Bartolommeo, and 
by other critics to Morales and to Zurbaran. 

Dr. W. R. Valentiner, in a letter to Mr. Hirsch dated June 3, 1909, wrote of 
the painting: “‘“Ihe Virgin’ seems to me to be Spanish, and I could not give it 
a better attribution than Louis Morales.” 


No. 19 


SAINI ROUGH 


BY 


GIOVANNI BATTISTA TIEPOLO 


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No. 19 


GIOVANNI BATTISTA TIEPOLO 
VENETIAN: 1693—1770 


SAINT ROCH 
Height, 191% inches; width, 144 inches 


Tue three-quarter length figure of a man with an earnestly— 
almost fanatically—devout expression on his upturned, open- 
mouthed, worshipful face. He is seated, facing the left, his 
figure turned three quarters to the front, his back-tilted head 
exhibiting his face almost in profile and in the subdued radi- 
ance of a light as from some celestial source. He appears 
against a gray-brown background as of clouds before depths 
of deep-toned blue, the light illumining his face falling also 
upon the front of his figure and causing shadows back of and 
below him. His throat, arms and knees are bare, his rugged 
hands are clasped; and brown, unkempt curls hang about his 
temples and shoulders. His short-sleeved tunic of sundry 
shades of brown and dull, mustard-yellow is overlain on one 
shoulder by a cloak or drapery of light, faded green. A staff 
lies under his arm and a shell device appears decorating his 
breast. | 


From the collection of the late Francis Lathrop. 


A pendant to this picture is in the collection of John G. Johnson, Esq., Phila- 
delphia. 


No. 20 ele 


SOUTH GERMAN SCHOOL #/,, 


Axsout 1520 


SAINT JEROME 
(Panel) 


Height, 15 inches; length, 19 inches 


THE saint, with bushy gray hair and beard, half nude and 
partially enwrapped in robes of pale blue, cream-white and 
yellowish-brown, is on one knee before an improvised mountain 
shrine, where a crucifix leans against a tree trunk at the right 
of the picture and rests on deep folds of a cardinal robe which 
has been thrown over some shelving rocks at the tree’s base. 
TI’rom beneath the folds of the robe a large clasped volume 
sumptuously bound in green leather protrudes, and lying on 
the top of the robe is a skull on which the saint leans with his 
left elbow. In his right hand, which is drawn back, he holds 
a large stone. At his feet is a recumbent lion. Among sunny 
green fields of the middle distance, beyond a tree of the left 
foreground, are travelers and a road, and in a field beyond a 
bridge is a white wayside cross. In the distant background of 
blue and sunlit mountain peaks under a deep blue sky appear 
occasional castellated buildings. 


Signed at the lower left with the monogram AD, 


No. 21 


GERARD DOU 
Dutcu: 1613— 1675 


A HERMIT 
(Panel) 


Height, 171% inches; width, 13% inches 


A HERMIT of huge frame and large features, his face drawn 
in the tensity of the fanatic, leans upon his elbows on the table 
at which he is seated, and gazes at the feet of a crucifix which 
is set up before him and rises above his head. He is pictured 
at half-length, the table-top being the foreground and base 
of the picture. He is old and gray, and wears a monk’s brown- 
black cloak and cowl, the cowl lying in heavy folds at the nape 
of his neck. His beard is full and long but his hair is sparse 
and he is partly bald. One elbow rests upon an open volume, 
the leaves of which he thumbs, and another volume is opened 
before him, resting against a skull which is placed at the foot 
of the cross. Behind him the background is dark, while beyond 
the cross is a pale radiance against which the crucifix is sil- 
houetted and which illumines the old man’s drawn face. 


Signed at the lower left, on the skull, Dov, 1653. 


Dr. W. R. Valentiner, in a letter dated November 24, 1910: “The Gerard Dou 
is undoubtedly a genuine work by this master.” 


22 


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MADONNA AND CHILD 


BY 


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BAREND VAN ORLEY 


No. 22 


BAREND VAN ORLEY 
Friemisu: 1485—1542 


MADONNA AND CHILD 
(Panel) 


Height, 1924 inches; width, 1514 inches 


AGAINST an illuminated background the Madonna is shown 
head and bust, her figure and that of the Child filling the 
picture. She is facing the front, turned slightly toward the 
right, with her head inclined somewhat toward her left shoul- 
der and her eyes cast downward. Her reddish-brown hair is 
bound over her brow by a golden band with an ornamental 
clasp, and over her crown by a gracefully folded scarf of pale 
blue, while the long, unbound tresses which fall about her 
shoulders are gold-kissed on the crests of their graceful waves. 
She wears a blue cloak beneath which a sleeve of chestnut-red 
velvet finished with gold protrudes, while a scarf of lighter 
hue corresponding with the headdress drapes her bust. On 
the right she holds the Child, who is asleep over her breast, 
which He clasps. 


From the collection of the Marquis de Pietro. 


“The picture of Mary with the Child (half-figure), on gold ground, is prob- 
ably a genuine painting by Barend van Orley, and is especially interesting because 
it proves the close relation of this artist to Jan Gossaert, who treats the same 
subject with variations.” 

(Signed) “W. R. VALenTINeER. 

“June 15, 1911.” 


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PAULUS POTTER 
Dutcu: 1625—1654 


CATTLE IN PASTURE 
(Panel) 


Height, 15°4 inches; length, 22%4 inches 


On the broad top of a low mound occupying the foreground, 
bordering a meadow, are four sturdy-looking cows, with udders 
well filled in the late afternoon. he hillock is covered with 
rich, dark green grass, a spot of bare brown earth varying it 
near the center and flowering weeds projecting above its vel- 
vety surface at the edge of the foreground and toward the left. 
A large white cow is lying down, athwart the view, near the 
center of the composition, her head to the right and turned so 
that she looks toward the spectator, as does a white and black 
spotted cow which stands behind her on the left, near the base 
of a solitary, scraggly tree. Seen across the white cow’s back 
is the rump of a white and red cow, which stands looking away 
from the spectator, and on the right a dun cow is standing, 
facing away and toward the left, her head turned to look with 
one eye toward the observer. On the right other cattle are 
seen in the sunny meadows reaching to distant woods and city 
buildings. 


Exhibited at the Metropolitan Museum of Art, New York, Hud- 
son-Fulton Celebration, 1909; Catalogue No. 73. Illustrated im the 
catalogue. . 


Mentioned in C. Hofstede de Groot’s “Catalogue of Dutch Painters,” Vol. 
IV, No. 42. The author, after describing “Four Oxen in a Meadow,” by Potter, 
in the Turin Museum, says: “A replica in reverse—also an original, in the opinion 
of W. R. Valentiner, the author of the Hudson-Fulton catalogue—with cows in- 
stead of oxen, and several other variations, on panel measuring 15 by 22% inches, 
entitled ‘Cattle in Pasture,’ was exhibited at the Hudson-Fulton Celebration, Met- 
ropolitan Museum of Art, New York, 1909, No. 73; it was lent by Leon Hirsch, 
New York.” 

Writing in 1909, under date of June 3, Dr. Valentiner expressed himself as 
follows regarding this picture: “The ‘Four Cows in a Pasture’ seems to me to 
be a very interesting original by Paul Potter,—especially interesting as there are 
only a few examples of his work in this country, and they are in the Elkins, 
Johnson and Yerkes collections.” 

Dr. Rudolf Oldenbourg of the Pinakothek, Munich, wrote: “The painting by 
Potter is too well known and praised for me to express an opinion, The first 
condition for the appreciation of this artist is a knowledge of his fatherland. 
Those who have seen Holland must admit that no other artist understood the 
characteristics of the country so well, or could put it on canvas so clearly.” 

ane a remarkable example of the artist, as is also Mr. Leon Hirsch’s 
Potter.’”—Walter Pach in a criticism of the Dutch art in the Hudson-Fulton ex- 
hibition at the Metropolitan Museum. 


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ITALIAN SCHOOL 
XViIta Century 


DEATH OF ADONIS 
Height, 1514 inches; length, 19 inches 


In an idealized landscape Venus and Adonis are surrounded 
by groups of amorini on the ground and in the air. In the 
central foreground the bleeding body of Adonis is lying on the 
green turf at the base of a tree, with folds of rich blue and pale 
yellow robes about his loins. A cupid supports his head, and 
another, in tears at his feet, huddles against Venus, who 
crouches on the farther side of the body, her head turned to 
gaze at it despairingly. About her is draped-a red mantle. 
Near the tree Cupid is weeping, his quiver lying on the ground, 
and in the air above cherubs hover, gazing down, one of them 
about to drape a pall over the fallen lover. Beyond the green 
trees of the foreground is a distant classical landscape under 
a very blue sky. 


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No. 25 
UNKNOWN 


Dutrcu Scuoot: XVIItrH CENTURY 


DRINKING SCENE 
Height, 15 inches; length, 191 wmches 


In a tavern or an ancient, spacious kitchen, with brown walls 
and floor touched with a faint, dull green, some convivial spirits 
have gathered for genial relaxation. In the center a short 
man in mustard-color pantaloons and with his laced jacket 
and shirt-front open at the throat, is seated upon a heavy wood 
bench, facing the spectator. With one arm he is embracing a 
stout and complacent woman at his side, who looks smilingly 
toward him as with his other hand he raises high his flagon 
and sings out a toast. She is dressed in a reddish-brown skirt 
and a blue and white bodice, with wide-flowing neck-opening, 
and she holds lightly in one hand a still-smoking pipe. Over 
her shoulder a man clad in olive-green and wearing the conical 
slouching cap of the period points with amusement at her com- 
panion, and one of two other roysterers at the neighboring 
tables raises his cup and carelessly cries a genial response to 
the toast, while watching his comrade light a pipe. On the 
table are wine utensils, and a white cloth is partly rolled back 
on one end. At a half-open Dutch door a man is looking in 
upon the company. 


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No. 26 


CORNELIS DE WAEL 
Dutcu: 1594—1662 


ATTACK ON A TOWN 
Height, 1534 inches; length, 2534 inches 


A BELEAGURED city extending across the canvas toward a far 
blue hill on the right is defended on the left by a towered for- 
tress. Between rise the irregular walls and roofs of the town 
buildings, gray and moss-grown. Before the city are myriad 
forces of men-at-arms, afoot and ahorseback, those in the mid- 
dle distance an almost indistinguishable mass, those seen in the 
foreground active and individualized. Here, before the for- 
tress on the left, the besiegers are scaling the ramparts at sey- 
eral points, their flag already carried to the parapet, while 
from the towers within cannon are still belching fire and smoke. 
At the foot of one of the scaling ladders in the central fore- 
ground a wounded officer is being borne carefully back; on the 
right new forces are arriving, and on the left are more officers 
on horseback among wounded soldiers prone on the ground. 


From the collection of Eduard Remenji, the famous violinist. 


In October, 1908, Hofstede de Groot wrote of this canvas: “The undersigned 
has examined carefully the picture painted on canvas, representing an attack on 
an Italian fortress. Two ladders are placed against the walls; to the left is a 
general on a white horse; to the right is a regiment of arquebusiers, and in the 
distance a church amidst houses. This picture he considers to be a genuine and 
characteristic work of Cornelis de Wael. 


(Signed) “Corn. Horsrepe pe Groot.” 


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ANTOINE FRANCOIS VAN DER MEULEN 
Fiemisu: 1634—1690 


LANDSCAPE AND COUNTRY MARKET 
Height, 17 inches; length, 21 inches 


A. PLEASANT pastoral country spreads in expansive view be- 
fore the eye, in bright summer sunshine and mottled by shad- 
ows of trees and low-hanging clouds. Far away, high hills 
or low mountains are blue in the distance, under white horizon 
clouds which underlie other gray masses of vapor whose edges 
suggest their silver or their golden lining, and above all is the 
fair and brilliant blue dome. In the middle distance are green 
meadows and luxuriant trees, sunlit and peaceful on a quiet 
day, and through this reposeful landscape threads a blue river, 
streaked white with sunshine in the distance, and winding down 
to a foreground enlivened by a bucolic scene of combined busi- 
ness and enjoyment. Here, on and about a point of land jut- 
ting into the river, some score of figures, men and women in 
brightly colored costumes, are gathered with cattle, horses and 
farm carts, and boats, at a country market, bartering products 
of the land and fish freshly brought by the boatmen. Across 


an arm of the stream another farmer is busily at work among’ 


his flocks. 


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No. 28 


GUIDO RENI 
Bouoenese: 1575—1642 


ST. MARY MAGDALENE 
Height, 22 inches; width, 18 inches 


Tur Magdalene appears in head and bust before a deep, dark 
canopy or drapery background, a bit of conventionalized dull 
green landscape under a blue sky showing at the right. Her 
head is thrown back, the red lips of her small mouth are parted, 
and from her upraised eyes, fixed in rapt gaze heavenward, 
glistening tears trickle down pale cheeks tinged only with the 
faintest color. She faces front, her head in its backward tilt 
turned and slightly inclined toward her left shoulder, which 
with the arm and bust is bare, her white garment falling loosely 
away and held only by a jeweled clasp on the arm, while over 
the other shoulder a crimson mantle is draped. About both 
shoulders falls the loose abundance of her yellow-brown hair. 


No. 29 


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LANDSCAPE 


BY 


THOMAS GAIN SBOROUGH, R.A. 


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THOMAS GAINSBOROUGH, R.A. 
Eneutsu: 1727—1788 


LANDSCAPE 
Height, 1814 inches; length, 22 inches 


In the left foreground there comes into view the cool green 
arm of a lake, or bend of a narrow river, in the transparent 
shadow cast by a neighboring hill as the sun sinks to left of it. 
The hillside sustains groves of bushy trees, and on the hither 
side of the water, at the left, the foreground is low and covered 
with green vegetation to the water’s edge. Standing in the 
stream are two cows, and from a road down to the water on 
the right a bare-footed farmer in brown coat and blue breeches, 
and leaning on a staff, who has set down his basket behind 
him, appears to be about to enter the water after the cows—or 
to ford a narrow outlet into which his dog has already stepped. 
On dog and farmer and the edge of the stream, and on higher 
green and yellow fields at the right, the sunshine falls from 
over the hilltop, bathing a low, thatched stable or cottage in 
the middle distance toward the right. The distance is a coun- 
try of rolling hills and mountains, wooded—a _bluish-green 
under a pale blue sky enlivened by moving white clouds. 


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JACQUES LOUIS DAVID 


No. 30 


JACQUES LOUIS DAVID 
Frencu: 1748—1825 


PORTRAIT OF A LADY 
Height, 22 inches; width, 1834 inches 


Borp.y drawn, with keen, vivid expression and fresh and deli- 
cate coloring, the portrait of a young-elderly woman is pre- 
sented, head and bust, against a neutral background of dark, 
velvety gray. She wears a full cap of pearly-white and dove- 
gray crinkled material, with lace frills, beneath which small 
and tightly curled chestnut ringlets project, circling her brow 
and temples, the cap tying under her chin. Her large, hazel 
eyes and thin, pale lips are expressive, her cheeks are pink, 
and she seems ready with a wise, sophisticated smile. A white 
waist and lace neck-ruff are visible at her throat, within the 
turned-back golden-brown collar of her rich, deep olive-green 
cloak which is embroidered in sundry colors. 


No. 31 
MADONNA AND CHILD 


BY 


JUAN BAUTISTA JUANES 


No. 3l 


JUAN BAUTISTA JUANES 
SpanisH: 1523—1579 


MADONNA AND CHILD 
(Panel) 
Height, 251% iches; width, 1914 inches 


A cioseLy drawn group of five figures, each with a golden 
halo, in an architectural frame. The Virgin as the central fig- 
ure is portrayed at three-quarter length, seated, in robes of 
red and green adorned with gold, and a black mantilla lined 
with blue and also ornamented with golden stars. She faces 
the beholder, with head slightly inclined toward her right shoul- 
der and eyes directed downward as she offers her full breast to 
suckle the nude Child seated on her knee. Behind her at the 
right St. Joseph stands with his hands in the attitude of de- 
votion. He has thick brown hair, parted and falling to his 
shoulders, and a rather sparse and short beard. On the left, 
at the Virgin’s knee, below the Child, is the infant St. John, 
his cloak fallen from his shoulder and arms enfolding a high 
cross which the Child also clasps, as does the sainted female 
figure who completes the group, who is seen in three-quarter 
face as at the Mother’s shoulder she leans forward over the 
Child. Visible at the top of the picture is a strip of turquoise 
sky. 

R. de Beruete Moret writing to Mr. Hirsch from Madrid, November 9, 1909, 
said: “The picture the reproduction of which you sent me is, of course, a Juan 
de Juanes. . . . The Italian characteristics shown in this work are due to the 
marked influence which Juan de Juanes received from the great Raphael, whose 
impressions he followed to the extent of being the most faithful representative 
of the Italian master in Spain. The true name of Juan de Juanes was Vicente 
Juan Macip, but to-day he is known all over as Juan de Juanes.” 

Dr. W. R. Valentiner wrote, February 3, 1910: “The Spanish painting ‘Virgin 
with Child and Two Saints’ also seems to me to be a very fine work, and is very 
much in the style of Joanes Vicente Macip, of whose work Mr. Johnson, of 
Philadelphia, has an example similar in style and technique.” 

This picture also brought forth the following testimonial: “The Juan de 


Juanes, a most interesting early painting which shows us the master in the best 
light, and before he took up his ‘grissliche’ (horrible) style. 


(Signed) “Loca. May 4, 1911.” 


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No. 32 


INTERIOR WITH FIGURES 


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NICHOLAES VERKOLJE 


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No. 32 


NICHOLAES VERKOLJE 
Dutcu: 1673—1746 


INTERIOR WITH FIGURES 
Height, 2034 inches; length, 2614 inches 


A. PANELED interior with tesselated floor, carved columns and 
canopied recesses is a background for a group of more or less 
generally stolid Dutch gallants and fair ones abundant of 
flesh, gathered about a central table covered with Oriental 
rugs. On the right a fair blonde in brown, seated, has leaned 
forward, her head resting upon her folded arms supported on 
a green cushion on the table, and she slumbers, or seems to, 
her blue slippered feet protruding from beneath her ample 
skirt. A young man with blond curls, in an orange coat with 
blue cuffs and blue underlining in the slashed sleeves, leans 
solicitously over her as if to awaken her or make sure she is 
asleep, while one of her sisters clad in a pale plum-color gown, 
décolleté, puts a restraining hand on his arm. Behind them 
another man in dark apparel and an old woman look on. To 
the left a more ardent gallant in a blown-rose costume, and of 
large waist, wineglass in hand, pays court to another woman, 
and through a doorway an affectionate couple are seen on a 
veranda. There is wine upon the table and more in generous 
bottles standing in a tub on the floor. 


Under date, Charlottenburg, December 4, 1909, Dr. Bode wrote to Mr. Hirsch: 
“I agree with you about the name of the picture signed ‘Nic Verkolje.2 I know 
several pictures of a high quality of the earlier time of Nicolas, still more of 
his father’s. One was sold to an American amateur at 50,000 franes ten or 
twelve years ago.” 


No. 33 44 GE Cae 


BOLOGNESE SCHOOL P50. 


XViItH CENTURY 


SAINT LAWRENCE 


Height, 27 inches; width, 20 inches 


AGainstT the dark depths of a somber interior, with a stone 
column showing on the right, St. Lawrence is depicted all but 
nude, half reclining, half upspringing from a dark and heavy 
bench, a light cloth on which he was seated clinging loosely 
about him. A strong light falls upon his sturdy, massive 
figure, particularly on his face and deep chest. The martyr 
leans back and to his right on his right hand, as he faces for- 
ward, his right foot on the floor and his left on the bench with 
knee bent, in the attitude of rising or springing up, while his 
left hand is stretched forward high above his head. His head 
is thrown back, a misty aura surrounds his reddish-brown hair, 
and his earnest face and eyes are turned upward in the di- 
rection his hand reaches. Shadows modulate the glowing, 
rugged flesh, and at his feet is tumbled in careless folds a 
sumptuous gown of red and green, embroidered in gold. 


No. 34 


PETER BREUGHEL (‘‘ PEASANT BREUGHEL?’’) 


FuLemisH: circa 1520—1569 


REST DURING THE FLIGHT INTO EGYPT 


(Panel) 
Height, 21 inches; length, 271 inches 


ON the left is the edge of a green forest, on high and rugged 
land, and on the right, beyond a narrow river (Nile) which is all 
green with reflections of the trees and grass of its banks, the 
forest continues, but more open and on lower land. ‘The sky is 
largely screened by heavy gray clouds, but the foreground, in- 


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ding the nearer shore of the river, is yellowed and bright in 


sunshine. On the left, at the open entrance of a hut made of 
skins or reeds, are the robbers, in gay apparel and somewhat 
besotted, one of them asleep on his elbow, one fallen to the 
ground, another embracing the cook who is spitting a duck 
before the fagot fire; one has his hand menacingly on his sword, 
while a boy holds up his hands in supplication. Seated on a 
bank at the foot of a tree before the hut, the Virgin, in gray, 
white and green, holds on her knee the nude Child, and Joseph, 
as an old man in blue with a red cloak and holding a shepherd’s 


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ok, sits beside her. Near the river’s edge two men are slay- 


ing Herod’s messenger, whom they have knocked down, his 
purse flying to the ground beside him. 


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No. 35 


PORTRAIT OF A LADY 
BY 


‘NICHOLAS MAES 


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NICHOLAS MAES 
Dutcu: 1632—1693 


PORTRAIT OF A LADY 
Height, 27 inches; width, 2234 inches 


A xapy of somwhat prominent features, affable expression 
and ample figure, is portrayed at three-quarter length, stand- 
ing, facing the front, her head turned slightly to the left and 
her somewhat quizzical blue eyes looking directly at the spec- 
tator. The background is a conventional landscape, mainly 
of deep brown tone as the interior of a wood, with a glimpse 
of sky and distant blue highlands at the upper left-hand corner 
of the canvas. The lady leans with her left elbow upon a grass, 
moss and vine-covered ledge of brown rock, her left hand toy- 
ing with the ringlets of her pale chestnut curls. She wears 
pearl ear-drops and a pearl necklace, and her bright vermilion 
gown is caught at the shoulder with a circlet of pearls and at 
the corsage with a jeweled clasp. ‘The gown is moderately 
low in the neck, where white lace is disclosed, as it is at the 
short sleeves, and the lady’s right hand, crossing her breast, 
catches a white and brown lace scarf which curls from her 
left shoulder across her figure. 

This portrait is of a later period in the artist’s life than the “Child with Dog” 
in this collection. 


Dr. Bode endorsed this painting, over his signature, as follows: “A real work 
by N. Maes, of his latter period. Very masterful.” 


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No. 36 


PORTRAIT OF A MAN 


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THOMAS DE KEYSER 


No. 36 


THOMAS DE KEYSER 
Dutcu: 1620—1660 


PORTRAIT OF A MAN 
Height, 28 inches; width, 2134 inches 


A GENTLEMAN of middle life and refined features is depicted, 
head and bust, against a neutral background of light olive- 


brown. He is turned very slightly toward the right but faces 


almost fully front, his head inclined a fraction back and 
toward his right shoulder. He is clothed in black velvet, closely 
buttoned up to the neck, and wears an intricately convoluted 
white ruff. His brown hair lies loosely in careless ringlets, 
as though his habit were to run his fingers through it, and 
the expression of his quiet blue eyes is one of abstracted 
thought. His chin beard and slight mustache are of lighter 
brown than his hair. His brow is lined and white; his cheeks 
have the ruddy hue of health. The light falls from above at 
the left, lighting his right forehead strongly and throwing the 
left side of his face into transparent shadow. 


Described and illustrated in Rudolf Oldenbourg’s “Thomas de Keyser,” 
Leipzig, 1911, p. 19. es 


Dr. Oldenbourg says of this portrait: “The portrait of a man by Thomas de 


_ Keyser, in the Hirsch Collection, New York, is one of the few paintings executed 


in the early days of this master which can be attributed to him on the ground of 
the ‘Anatomy’ in Amsterdam, and is of special value on account of its excellent 
preservation.” 

Dr. Kurt Erasmus, writing in New York on November 4, 1910, said of this 
canvas: “The portrait of a man spoken of in R. Oldenbourg’s book, ‘Thomas de 
Keyser’s Activities as a Painter,’ and pictured in the said book, is a very fine work 
of Thomas de Keyser. It is so natural, and in splendid condition.” 

On November 24, 1910, Dr. W. R. Valentiner wrote: “The portrait of a gentle- 
man is in my opinion a characteristic and fine work by Thomas de Keyser, of 
his early period.” 


BY 


No. 
PORTRAITS Of] ACLADY. 
FRANCISCO GOYA Y LUCIENTES. 


No. 37 


FRANCISCO GOYA Y LUCIENTES 
Spanisuo: 1746—1828 


PORTRAIT OF A LADY 
Height, 3034 inches; width, 24% inches 


A woman of mature years and marked personality, heavy 
form and strong features, is depicted at half-length, seated 
and facing the observer, her head turned very slightly to the 
right. She is strikingly clad in bright red, which emphasizes 
her ample figure, the gown being cut with elbow sleeves which 
finish with white lace and an orange-brown band and white 
undersleeves. Her stout arms fold in front of her, the hands 
just overlapping. The brown of the sleeve band is repeated 
in ornamental lines leading to the point of the bodice, and the 
waist is further adorned by striped and colored laces enfold- 
ing the shoulders and bust and accentuated by transparent 
white lace revers. Her complexion throughout is of ruddy 
hue, her eyes are a dark hazel under black brows, and her 
gray hair of a dark pearl tone is done in a huge puff about 
her head, standing far out above it, and is surmounted by a 
brownish-gray headdress of lace ornamented with pink and 
white bows. Neutral background. 


Signed at the right below the center, Goya (with a date which 
appears to be 1795). 
Dr. Rudolf Oldenbourg, of the Pinakothek, Munich, writing under date of 


February 10, 1912, said of this canvas in a letter to Mr. Hirsch: “An acquisition 
on which I wish to congratulate you heartily is the beautiful Goya picture.” 


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SIR THOMAS LAWRENCE, P.R.A. 
Encuisu: 1769—1830 


PORTRAIT OF A MAN 
(Said to be of the Artist) 


Height, 30 inches; width, 25 inches 


Tue head and bust portrait of a tall young man, seen from 
full in front, against a conventional background of brown and 
greenish-brown landscape beneath a blue sky filled with gray, 
slate-colored and white clouds. It is nearly a half-length fig- 
ure but with the hands out of the picture. The sitter wears 
a black cloak with high-folded shawl collar, which, buttoned 
low at the throat, reveals a dark red undercoat with collar 
of complementary green, a black stock, and the edges of the 
high white linen collar forced close up under the wearer’s chin. 
His full face, with ruddy cheeks furred at the sides with soft 
curling whiskers, is turned a little toward the left, and he 
looks in that direction far beyond the spectator. His dark 
tousled hair, almost black, arches over his high, white fore- 
head, framing his head and lying in a loose, apparently studied 
arrangement of orderly disorder. 


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SIR JOSHUA REYNOLDS, P.R.A. 
EneuisH: 1723—1792 


LANDSCAPE 
Height, 25 inches; length, 30 inches 


A mountainous landscape with broad valley is pictured on a 
day of bright sunlight and heavy storm-clouds. On the left 
a tall tree of dense foliage rises out of the picture, throwing a 
part of the rocky and grassy foreground into shadow. Be- 
yond, on the left, broad fields are yellow, green and blue in 
the sunshine, and the clouds over the far fields and mountain 
tops are white, tinged with lavender-pink, the light from this 
broad stretch of bright land and clouds streaming in toward 
the right foreground under a heavy, menacing thunder-cloud 
which hangs over a mountain-side of the right middle distance. 
Before the mountain two or three gnarled and sturdy detached 
trees of slight foliage grow, and near their base some figures 
are suggested, roughly sketched in. Amid the mass of the 
storm-cloud, aloft over the center of the picture, a patch of 
cloud is a bright yellow, as vividly illumined by the sun. 


. 40 


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PORTRAIT OF MISS ANNE FANE 


By 


JOHN HOPPNER 


No. 40 


JOHN HOPPNER 
Encusu: 1759—1810 


PORTRAIT OF MISS ANNE FANE 
Height, 30 inches; width, 25 inches 


A HANDSOME young English woman, dark-haired and slender- 
featured, but with generous figure, is seen against a dark back- 
ground of neutral brown, a suggestion of conventional land- 
scape just visible below on the left. She is seated facing the 
left, her head turned almost fully to the spectator, at whom 
her bright, wide open, deep blue eyes look directly, with the 
slightest suggestion of an amiable smile which her delicately 
curved pink lips confirm. She is shown at three-quarter 
length, and wears a plain, cream-white gown of light material 
and moderately open neck, which hugs the body nowhere save 
along broad bands which finish the elbow sleeves, beyond which 
her two rounded arms extend along her lap, her pink fingers 
interlocking as the hands meet above her knees. 


From the Sir Robert Peel Collection, London. 


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No. 41 


SIR JOSHUA REYNOLDS, P.R.A. 
EneuisH: 1723—1792 


PORTRAIT OF A MAN 
Height, 30 inches; width, 25 inches 


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A HEAVY, dark, purplish-red curtain draped from the upper 
right-hand corner forms the background for the sitter’s head, 
falling behind his shoulders, and at the left below is a back- 
ground of somber brown in two tones. The sitter is portrayed 
at half-length, standing, facing the left, his right elbow flexed 
and hand thrust between the buttons of his coat at the breast 
opening, the pearly-white lace cuff hanging in graceful folds 
about the wrist; the left hand is not in the picture. His head 
is held proudly up, the blue eyes looking far to their owner’s 
right, the self-confident expression of his face almost haughty, 
the lips about parting as though for ready speech. He appears 
a young man of rosy complexion with brown hair and eyebrows, 
and he wears a white stock, and a brown (or “sad-colored’’) 
cloak and waistcoat, with cording, buttons and buttonholes of 
a lighter golden-brown or yellow. 


This has been said to be one of Reynolds’s portraits of Edmund Burke, who 
sat to Sir Joshua many times. 


No. 42 


SIR WILLIAM BEECHEY 
EncusH: 1753—1839 


JAMES, EARL OF CARDIGAN 
Height, 35%/, inches; width, 28 inches 


HALr-LENcrH portrait, including the hands. The earl ap- 
pears in vigorous manhood, though with rather deep-sunken 
eyes and somewhat. thin face, and he looks quietly and with 
complacency in the direction of the observer. He is seated in 
a red-upholstered armchair, against a neutral background of 
deep brown tone, turned slightly toward the right but facing 
front. His complexion is freshened with a faint pink hue and 
he wears a gray-white wig. His green-blue coat with olive- 
brown tones has a red upstanding collar which, with the coat 
itself, is gold-embroidered, and he wears a white lace jabot, 
gray-white waistcoat and lace cuffs. His hands rest on his 
lap, and in his left hand he holds a golden snuff box. 


On the back of the canvas: “James Earl of Cardigan, Constable and 
Governor of Windsor Castle and Keeper of the Privy Purse to 
the King, etc., Feb., 1798.” 


Engraved by J. Collyer, A.R.A. 


Evhibited at the Royal Academy, 1797. 
From the Sir Robert Peel Collection, London. 


Dr. Kurt Erasmus, of Messrs. M. Knoedler & Co., wrote of this painting on 
November 4, 1912, in New York City: “The portrait of the Earl of Cardigan is a . 
very fine work by Sir William Beechey. It is beautiful in color and in fine con- 


dition.” 


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JAN STEEN 
Durcu: 1626(?)—1679 / 


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THE WANDERING MUSICIANS 
Height, 3014 inches; width, 2614 inches 


Into the courtyard of an ancient cottage or inn some strolling 
musicians have wandered, followed by several of the populace. 
A woman, bent and leaning on a staff, in a short peasant skirt 
and green-blue waist wide open at the throat, has approached 
close to the door, singing lustily from a piece of music which 
she holds in her hand. She carries a market basket on one 
arm, and a weary babe is strapped to her back. Near her a 
blind old man, led by a dog, plays a hurdy-gurdy and joins 
in the singing. ‘Two jolly-faced men appear in the doorway 
listening to the music, the foremost bearing a generous wine 
glass in his hand, and two other men are seen at a window. 
Over the doorway hangs a wine pitcher and a long-stemmed 
clay pipe. Before the door is a small girl in dark skirt and 
gray-white apron, white cap and bright yellow jacket, holding 
a red earthen pitcher and looking up at the singers. The play 
of the light brings out her yellow jacket in attractive quality. 
Uncouth peasants and children stand gazing in awkward in- 
terest behind the musicians, seen against a fence that en- 
closes the courtyard and over which are visible the tops of 
other houses and trees, and a blue sky full of gray-white and 
reddish clouds. 


Signed at the lower left, on the bench, JAN STEEN. 


Dr. Bode has pronounced this painting “A characteristic Jan Steen, of his 
Haarlem period.” 

From Hofstede de Groot’s “Catalogue of Dutch Painters,” Vol. 1, p. 117; Jan 
Steen, No. 445d—The Wandering Musicians: “An old man, followed by a dog, is 
playing the hurdy-gurdy. Near him is an old woman singing from a sheet of 
paper; she carries a child on her back and has a basket on her left arm. In the 
doorway of a house to the left are two persons, and two others are at the window. 
Behind the musicians are a man wearing a red cap, with his hands behind his 
back, a woman with a child in her arms, and two small children. The scene is 
laid in the courtyard of a cottage; there is an open gate in the fence, through 
which and above the fence are seen other houses and the sky of reddish clouds. 
Signed in full on a small bench to the left; canvas, 3014 inches by 2614 inches. 
Sale—Count de Ganay and others, Amsterdam, April 24, 1906, No. 115.” 


(See certificates of Dr. Wilhelm Bode and Dr. Valentiner reproduced on the 
following page, facing illustration.) 


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No. 44 


PORTRAIT OF A MAN 


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CORNELIS JANSSEN VAN CEULEN 
Durcu: 1590—1665 


PORTRAIT OF A MAN 
Height, 29 inches; width, 254% iches 


Tux sitter is a man of sharp and somewhat sunken features, 
as though elderly or of impaired vitality, yet of keen eye, and 
with a mass of rich chestnut-brown hair, if vanity and the 
fashion of his day have not given him a wig. His complexion ~ 
is saved from the sallow by a pervasive warm tinge, and a 
slight sandy-blond mustache faintly covers his thin upper lip. 
He is shown head and chest, facing the right, three-quarters 
front, against a background of deep olive verging at the left 
upon olive-yellow, and the light is evenly distributed upon his 
features. His apparel is heavy material of a red-brown tone, 
chestnut-red in the shadows of the folds, the coat buttoning 
to the neck, where an ornate lace collar comes into view, held 
tight to the neck by a jewel of gold. 


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JAN SCOOREL 
Dutcu: 1495—1562 


THE ADORATION OF THE KINGS 
(The Central Panel of a Triptych) 
Height, 3314 inches; width, 231 inches 


BEForRE an elaborate architectural mass of classic ruins, of 
pink, white and brown-hued marble, in sunshine and shadow, 
the Virgin on the left, sandaled and in green flowing robes, 
kneels at the head of the Christ, who lies on a white drapery 
spread over a straw-covered cot. Behind her Melchior in mag- 
nificent jeweled robes leans over her shoulder, tendering his 
gifts. At the left men with helmets and battle-axes press for- 
ward through an archway. At the feet of the Child, near the 
center of the composition, Balthasar kneels in adoration, his 
present deposited on the floor at his side, while back of him 
Gaspar in red and green waits with his rich cup which a re- 
tainer aids him to support. On the floor in the foreground are 
broken columns and entablatures and a sheaf of grain, and 
through a breach in the wall on the right are seen some figures 
and a stretch of sunny green landscape. 


(See certificates of Dr. Wilhelm Bode and Dr. Friedlander reproduced on the 
following page, facing illustration.) 


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No. 46 
THE MASS OF ST. GREGORY 
BY ; 


LUCAS CRANACH (THE ELDER) 


(pees alliso, 


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LUCAS CRANACH (THE ELDER) 
German: 1472—1553 


THE MASS OF ST. GREGORY 
(Panel painted about 1515) 
Height, 34 inches; width, 2414 inches 


Avr the altar on the left the celebrant in white with ornate 
vestments gazes earnestly upward at the Christ wearing the 
crown of thorns surrounded by a halo, leaning forward and 
showing His wounds, while among clouds of incense rising all 
about appear heads and symbols, Pilate washing his hands, 
the cock on a pillar to which are bound a scourge and imple- 
ments of the Crucifixion, all with a variety of color and detail. 
| Other tonsured monks in rich vestments, kneeling on the altar 
| steps, uphold the robe of the celebrant, others kneel upon 
| the floor with candles, and through an arched doorway a mitred 
} bishop is seen descending a stone stairway. Each of the 
figures—the whole composition, also—is strongly lighted, the 
i altar is covered with a cloth of white and green, and the church 
{ walls are a slate-gray and brown, their plainness offering a 
contrast to the affluence of color and embroidery characterizing 
iP the garments of the assembled devotees. 


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ATTRIBUTED TO 
FRANCESCO GUARDI 
Iravian: 1712—1793 


LANDSCAPE 
Height, 22 inches; length, 884% inches 


Unpber a brilliant blue sky in which float white and smoky- 
gray cloud-patches, a mountainous classical landscape lies 
gray-green and greenish-blue in the distance, dotted with tall 
and spreading architectural piles, dotted with white sails upon 
blue rivers, and varied by wooded and sunlit valleys and broad 
plains. In the foreground, green and yellowish-brown vege- 
tation flourishes on uneven strips of land projecting irregu- 
larly into a stream that turns the wheel of an old mill, into 
which a man is bearing on his back a sack of-grain. Here, 
too, the land and its buildings are mottled by sunshine and 
shadow, but all in warm tones of yellow, brown and green, 
with suggestions of rose-tint and weathered gray. A gray 
road passes before a picturesque and colorful group of build- 
ing-ruins, and numerous figures in blue, white, brown and 
lavender-touched garments are seen in roadway and building 
recesses, and by the water’s brink. 


Bf, Desde 


MM. Merba-dt : No. 48 


NICHOLAS MAES 
Dutcu: 1632—1693 


CHILD WITH DOG 
Height, 35%4 inches; width, 28% inches 


A soLEMN child with an expression of infantile pompousness 
due partly to its fat, rounded cheeks, is seated facing the 
observer and seen at full length. The white dress with pearl-_ 
gray tones is banded tightly about the small trunk, making it ~ 
rigid, while the sleeves and skirt are full, with easy folds. The 
child sits on a bench which is covered by a bright red drapery, 
holding a small dog, and wearing a tight cap encircled by a 
large, gray-white feather which is fastened with a jeweled — 
pin. A purple-brown curtain is draped from the upper left 
corner of the picture, falling slightly behind the small sitter’s 
head, and the background displays a landscape crossed by a 
river, beyond which are seen green trees, and houses with red 
and slate-colored roofs, in sunshine and shadow. 


Signed at the lower right, N. Mars, 1664. 


From the collection of H. Linde. 


This painting brought to Mr. Hirsch the following enthusiastic tributes, from 
Dr. Valentiner of this city and Dr. Rudolf Oldenbourg of the Munich Pinakothek. 
Dr. Oldenbourg wrote: “To write at length about the painting by N. Maes 
seems to me to be unnecessary, on account of the signature and the date, and 
further because of its so evident excellent quality. The brilliant colors, so freely 
applied, and the minute details of the drawing, make it to my mind the best I 
have seen of this master’s works of the period of transition from Rembrandt’s 
school to the so-called French style.” 
Dr. Valentiner’s letter was as follows: 
“Dear Mr. Hirsch: The painting of a child by Nicholas Maes, from the collec- 
tion of H. Linde, is, in my opinion, without a doubt genuine, and a very beautiful 
piece of work by this master. It is in excellent condition, and bears the genuine 
signature, with the date, 1664. 
“The painting is very interesting for the reason that it is a link between the 
earlier work of the artist under the influence of Rembrandt, and the later works 
painted in the French style, and because it thus proves the incorrectness of the 
supposition that there were two painters of this name. 
“With kind regards, 
“Very truly yours, 
“W. R. VALENTINER. 
“New York, April 7, 1910.” 


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PORTRAIT OF A MAN 


BY 


JACQUES LOUIS DAVID 


No. 49 


JACQUES LOUIS DAVID 
Frencu: 1748—1825 


PORTRAIT OF A MAN 
Height, 36 inches; width, 2834 inches 


A vicorous, boldly drawn portrait of a man, observed at half- 
length, standing. He faces the left, three-quarters front, his 
face turned almost full to the front and eyes directed a little 
to the right of the onlooker, with a contemplative expression. 
Heavy, dark eyebrows overshadow the large eyes of light 
brown hue set between a broad, smooth forehead and rosy- 
pink cheeks. He is smooth shaven, after the fashion of the 
day, and wears a dark wig whose series of horizontal curls 
extends from brow to neck. His left hand is thrust carelessly 
into his breeches pocket, and in his right he holds easily an 
unfolded letter or other communication. He wears a coat of 
bright blue with buff lining, gold collar-edging and buttons, 
and white lace cuffs. His white satin waistcoat, lace trimmed, 
has ornate silver buttons, and about his throat is a narrow but 
loosely flowing black tie. The solid background of dark olive 
lightens somewhat immediately about the head and figure, 
which are seen in a strong light. 


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PORTRAIT OF MISS ELIZABETH 


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No. 50 


JOHN HOPPNER 
Enewiso: 1758—1810 


PORTRAIT OF MISS ELIZABETH MOORE 
Height, 45/4 inches; width, 3914 inches 


A young lady of somewhat ample figure, large, gray-blue 
eyes, fresh pink cheeks and oval face, is portrayed at three- 
quarter length, seated and facing nearly to the front, her 
figure turned slightly to the right. Her head is turned to the 
left, her face being seen three-quarters front. She wears a 
creamy-white gown with a low, V-shaped opening at the 
breast, and a loose, shawl-like collar effect about the neck, with 
shoulder sleeves. It is girdled at the high waist with a narrow 
sash of pale blue, and is draped below in graceful folds, vanish- 
ing from the picture below the sitter’s knees. Her right hand, 
which hangs beside her chair, is encased in a long gauntleted 
tan glove, the bare left arm resting on a rich crimson, drapery 
adorned with gold fringe. She wears a red necklace, and her 
chestnut hair, done high on her head and falling low over one 
temple, is decorated with a green-blue ribbon. She is placed - 
before a background of massive columns of olive-brown and 
green, from which the crimson curtain depends, and a conven- 
tional green-blue landscape and sky. 


The following documents certifying the history and character of this painting» 
came into Mr. Hirsch’s possession and accompany the picture: 


“New York, May 20, 1912. 
“Txon Hirscu, Esq., 
“130 West 75th Street, New York City. 

“My dear Mr. Hirsch: In regard to the ‘Portrait of Miss Elizabeth Moore’ 
by John Hoppner, which you purchased from us, we beg to state that the paint- 
ing was acquired by us directly from Major Frederick Moore of the English Army. 
As stated in the letter which we delivered to you from Major Moore, the painting 
is the portrait of Major Moore’s great-aunt, who was lady-in-waiting to the 
Duchess of York. Major Moore assured us that the painting had never been out 
of his immediate family, and he sold it only because he was then over sixty years 
of age, and having no near relatives to whom to leave the painting he preferred 
to have the use of the money while alive. 

“Trusting that this is the data you desire, we remain, 

“Yours very truly, 
“Ting Enrich GALLERIES, 
“By H. L. Ehrich,” ° 


Major Moore, late of The Buffs, Third East Kent regiment, wrote under date 
of July 3, 1905: 

“Respecting the picture which you sold for me, I beg to state that it is the 
portrait of my late grand-aunt, Miss Elizabeth Moore, who was lady-in-waiting to 
the late Duchess of York, and that it has always been known in the family as by 
Hoppner.” 

To these was added the following certificate: 

“The ‘Portrait of Miss Elizabeth Moore,’ formerly in the possession of the 
family, is a genuine and beautiful picture by John Hoppner, and in very fine 
condition. 


“New York, November 4, 1912.” 


(Signed) “Dr. Kurt Erasmus. 


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No. 5l 
eee Yea JACOB JORDAENS 


im oe Friemisu: 1593—1678 
THE ADORATION OF THE SHEPHERDS 
Height, 49 inches; width, 39 inches 


Tue Virgin is shown at three-quarter length, seated, looking 
down lovingly and with a tender smile at the sleeping Child, 
whom she has folded to her breast, leaning against her left 
shoulder. She is facing slightly to the left, her figure seen 
three-quarters front and her face almost full front. She is 
clad in a rose-pink gown, open at the neck and exposing her 
full breasts, and the Child is wrapped in white and in vari- 
colored blankets. Over her head and about her shoulders she 
wears a rich, dark green mantle, which, overhanging her fore- 
head, throws her brow and a side of her face into shadow. A 
strong light from above on the left is concentrated upon the 
nearer side of her face, her full figure, and the upturned face 
of the babe slumbering. Back of her on the right, in the 
shadow of the dark brown rustic stable, with straw projecting 
over the rafters, Joseph as an elderly white-haired man stands 
over her protectingly, the figure of a young man in olive-green 
seen at his side, and on the left are three shepherds, young 
and old, approaching to do homage. The foremost bows in 
adoration as he leans forward on his staff, clad in brilliant 
scarlet. Over the heads of the shepherds is seen a background 
of blue sky and white clouds. 


Dr. Kurt Erasmus, of Messrs. M. Knoedler & Co., writing in New York, November 
4, 1912, said: “ “The Adoration of the Shepherds,’ with life-like figures, is in my esti- 
mation a characteristic work of Jacob Jordaens, and is in good condition.” 

Dr. Bode has said of this picture: “One of the variations of Jordaens—of his 
earlier period.” 


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No. 52 
AMEND SCHOOL TEACHER 


ATTRIBUTED TO 


DON DIEGO RODRIGUEZ DE 
SYLVA Y VELASQUEZ 


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No. 52 


ATTRIBUTED TO 


DON DIEGO RODRIGUEZ DE SYLVA Y 
VELASQUEZ 


SpanisH: 1599—1660 


THE SCHOOL TEACHER 
Height, 421% inches; length, 55 inches 


TE teacher, a lusty young woman in a gown of mustard- 
yellow with white-sleeved bodice, and wearing a mantilla of 
similar hue, is seated facing toward the right, three-quarters 
front, holding bowed over her lap a weeping child gowned in 
red, whom she is spanking with her free hand. Back of her 
on the left an elderly woman in a white cap, with a pitying 
expression on her wrinkled features, lays a restraining hand 
on the teacher’s shoulder. To the right is a group of three 
other children, a boy who back in the shadow leans with one 
elbow on his desk on which a book lies open, and two small 
girls, one dressed in blue with gaily-colored elbow sleeves, who 
is seated with a pale pink box on her lap, and another wear- 
ing olive-yellow who stands behind her, knitting. At the feet 
of the girl in blue a small, curly-haired pet dog looks out at 
the spectator. Over the teacher’s yellow skirt a white apron 
is draped, and the red gown of the punished pupil is set off 
by a neighboring bit of complementary green drapery. ‘The 
light is distributed over the three figures of the teacher, her 
little sinner and the girl in blue, while the other three figures 
are in effective partial shadow against a neutral, dark brown 
ground. 


In 1909, June 3, Dr. W. R. Valentiner wrote of it: “I should prefer not to 
give an opinion respecting the picture which you have attributed to Velasquez 
until I return from Spain. But I think I might say that it seems to me to be a 
very excellent and interesting Spanish picture of the period, which is very near to 
some of the early works of Velasquez.” 


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No. 53 M. Worcenton ga 


LUCA GIORDANO ~¥ 3.40, — 


Neapouiran: 1632—1705 
MOSES STRIKING THE ROCK 
Height, 48% inches; length, 501 inches 


A. MULTITUDE of the followers of Moses are suggested in the 
close grouping of men, women and children here gathered 
around their leader, who is pictured as a venerable and com- 
manding figure standing high in the midst of them. A moun- 
tainous landscape descends from the right, brown against a 
dark heaven, with a throng of people, half-nude and clothed 
in many brilliant colors, threading its defiles and bunched in 
the foreground on a rocky ledge, below which at the left runs 
a stream, in deep shadow, whence a rugged, bare-chested man 
is dipping water while a mother drinks, her child leaning upon 
her knee. Half-way down the slope, in the middle distance, 
Moses stands above the sitting and reclining throng, clad in a 
yellow and green robe and blue mantle, holding out to them 
an open hand for which numbers among them reach, and with 
his other hand pointing upward toward the “pillar of fire” and 
the leadership of God and His angels. Out of the surrounding 
gloom light falls especially upon a young and robust mother 
in the central foreground, clad in rose-pink, white and a 
creamy-yellow, suckling a nude infant at her bared breast. 


$3 257—- 


No. 54 


ATTRIBUTED TO 
PIETRO PERUGINO 
Traian: 1446—1523 


SAINT SEBASTIAN 
(Panel) 


Height, 6812 inches; width, 3434 inches 


Tur saint, depicted as a young man with full but graceful 
figure, and almost feminine suggestion in the gentle, trustful 
resignation expressed in his upturned features, is standing at 
full length, bound to a tree, facing forward and very slightly 
turned toward the left. His right arm is bound behind him, 
his left triced by the wrist held above his head to a branch of 
the tree, and his left leg is crossed before the right. He is 
nude, with a varicolored drapery folded about his hips, and 
the flesh is in mellow tones, the light falling from the left and 
above and throwing the opposite side of his body into slight 
shadow. His long hair falls behind his shoulders and a nimbus 
encircles his adoring head, while two arrows pierce his body. 
The background below is a landscape with houses, rocks and 
sea; and a procession of warriors, mounted and afoot, carry- 
ing halberds, battle-axes, bows and banners, winds along roads 
and over bridges, their red and golden-yellow costumes seen 
against tones of orange-brown and olive, of the green-blue of 
the sea, and of the gray-browns of buildings. Aloft, above a 
light horizon beyond the landscape, the background is a dark- 
ening sky of deep turquoise-green. 


55 


No. 
MUSIC 
Y 


B 
EUSTACHE LE SUEUR 


No. 55 


EUSTACHE LE SUEUR 
Frencu: 1617—1655 
MUSIC 
Height, 57% inches; length, 710% inches 


Music is personified in a fair blonde of abundant charms, life 
size and at full length, reclining at the base of an umbrageous 
tree. Her upper figure, all but nude above the waist, faces 
the beholder, as she sits on the ground, her sandaled feet ex- 
tended toward the right. Her face is turned slightly toward 
her right shoulder, while her glance, bearing away again, 1s 
directed somewhere back of the spectator’s right. She 1s 
laurel-crowned: blond ringlets fall over her forehead and 
temples; gauze, upheld by a jeweled girdle, encircling her 
waist and passing over one shoulder, does not conceal the 
rounded breasts; she holds a trumpet over her right arm, and 
a deep blue robe is draped in generous folds about the arm 
and her lower limbs. A harp is visible behind her, and nude 
cherubs on either hand, with white and mauve and yellow 
drapery or streamers, play the lyre or hold an open book of 
music, In the distance toward the right is a conventional 
mountain landscape before a sunset sky. 


Exhibited for three years at the Metropolitan Museum of Art, New 
York. Recorded in the list of loans m the Bulletin of April, 1908, 
as lent by Mr. Leon Hirsch. 


The painting is accompanied with an engraved portrait of the artist, at half- 
length in an oval frame, and holding a scroll of drawings, the plate being 
inscribed: “Eustache Le Sueur, de Paris, Peintre ordinaire du Roy, et Professeur 
en son Academie de Peinture et de Sculpture. Gravé par Charles Nicolas Cochin 
pour sa Reception a Vv Academie en 1731.” 

Height, 14 inches; width, 94 inches. 


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No. 57 


FIFTEENTH CENTURY GERMAN WOOD CARVING 
(Painted in Polychrome and Gilded) 


THE DEATH OF THE VIRGIN 


Height, 36 inches; with frame, 41 inches 
Width, 3614 inches; with frame, 431% inches 


THIRTEEN figures are carved in bold relief against the wall of 
a vaulted room of which two arches are depicted. Under the 
broader arch on the left, beneath weathered crimson draperies 
carved with acanthus borders and looped to the ceiling, the 
Virgin lies propped up in a faded-yellow high-backed bed re- 
ceiving the last rites, a candle clasped in her hand, the Dove 
of Eternal Peace hovering over her head. Below the foot of 
the bed Joseph sits with bowed head before a prie-dieu, a monk 
praying over him in consolation. Grouped alongside and be- 
yond the bed the other figures, with hands clasped in prayer, 
reading holy books and drying their tears with kerchiefs, are 
clad in robes of dull and softened blue, green, red and yellow, 
with traces of the ancient gilding. The Virgin is robed in 
Javender-pink, her head enwound in white, and lies under a 
gray-blue coverlet. Beneath the bed a red-tile floor is seen. 
The wall in the background is a mottling of weathered grays. 
South German work of the end of the fifteenth century. In 
modern architectural arched frame. 


(Copy of letter from J. § S. Goldschmidt, Frankfurt a/M, dated July 30th, 1912.) 


Esteemed Mr. Hirsch: According to your wish we are confirming the sale to you 
of an old wood carving entitled “Death of Mary surrounded by the Twelve Apostles.” 
Schwabian Sculpture with old Polychromie about the time of 1500. 

We guarantee this old and genuine and it comes from the Collection Weiler of 
Frankfurt a/M. 

(Signed) J. & S. Gorpscumipr. 


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No. 58 


ANTIQUE DEVOTIONAL SCULPTURE 
(With Polychrome Painting) 


Frencu: XVtH CENTURY 


VIRGIN AND CHILD 
Height, 18 inches; width, 12 inches 


Carvep in full relief against a stone wall-tablet. The Virgin 
is seated, facing front, holding the Child on one knee, and 
Bible or prayer book on the other. She is crowned, and her 
gracefully modeled, expressive features wear a composed and 
peaceful smile. Her ample robes show fleckings here and 
there of pale robin’s-egg blue, dark apple-green and brick-red 
—retentions from the early polychrome embellishment. ‘The 
Child, who holds in one hand a large sphere—(emblematic of 
the world?) —reaches out with the other and catches a fold of 
the mother’s mantle against her breast. The whole—both 
group and background—in a variously toned yellow-gray. 


This group and the two accompanying standing figures, Nos. 59 
and 60 of the catalogue, are undoubtedly from the same church and 
the work of the same man, as the modeling, expression and type all 
declare. 


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No. 59 
Xoops 


OLD ECCLESIASTICAL CARVED STONE FIGURE 
(With Traces of Original Polychrome Painting) 


Frencu: XVru Century 
EARLY FRENCH FEMALE FIGURE 
Height, 1914 inches 


A FEMALE figure, standing in sober dignity, holding a Bible in 
the left arm, her right hand resting on the hilt of a long sword 
poised on its point at her side. She is in mantle and loose 
robes, which retain vestiges of the original painting, revealing 
verdigris-green and olive notes—the whole appearing in a gray 
and olive-yellow aspect. 


No. 60 


ANCIENT RELIGIOUS STONE CARVING 


(Painted in Polychrome) sag hee 
Qa @. ees, 


Frencuo: XVTH CENTURY 


STANDING FEMALE FIGURE ¥ LK 2.$ — 
Height, 21 inches 


SHE is in graceful attitude, with left shoulder lightly depressed 
as though resting on the bent elbow, and holding a holy vol- 
ume against her breast with her left hand. The right hand 
originally held a branch or symbol. Her wavy black hair is 
bound within a white mantle and her draped and flowing robes 
are old-blue, bluish-green and weathered pink and vermilion, 
mingled with the gray of the ancient stone. 


AMERICAN ART ASSOCIATION, 
MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


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ST OF ARTISTS REPRESENTED 


AND THEIR WORKS 


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LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


CATALOGUE 


NUMBER 
BEECHEY, Sir Wi1tAmM 
James, Karl of Cardigan 4? 
BOLOGNESE SCHOOL | 
Saint Lawrence 33 


BREUGHEL, Peter (“PEASANT BREUGHEL?’) 
Rest during the Flight into Egypt 34 


BREYDEL, Kart 
Battle Scene 14 


CRANACH, Lucas (Tue Exper) 


The Mass of St. Gregory 46 
DAVID, Jacaurs Louis 

Portrait of a Lady 30 

Portrait of a Man 49 
DOU, GeErarpD 

A Hermit 21 


FORTUNY Y CARBO, Mariano 
Man Reading 1 


GAINSBOROUGH, Tuomas, R.A. 
Landscape 29 


GIORDANO, Luca 
Moses Striking the Rock 58 


GORTZIUS, GELporP 
Portrait of a Man 8 


GOYA Y LUCIENTES, Francisco 
Portrait of a Lady 


GUARDI, FRANcEsco 
By the Water 
Landscape with Figures and Horses 


GUARDI, Francesco (Attributed) 
Landscape . 


HOPPNER, JouHn 
Portrait of Miss Anne Fane 
Portrait of Miss Elizabeth Moore 


HORST, Gerrit WILLEMS 


Elisha and the Shunammite Woman 


ITALIAN SCHOOL 
Death of Adonis 


JORDAENS, Jacos 
The Adoration of the Shepherds 


JUANES, Juan BAUTISTA 
Madonna and Child 


KEYSER, THomas DE 
Portrait of a Man 


LAWRENCE, Sir Tuomas, P.R.A. 
Portrait of a Man 


LE SUEUR, EustacHE 
Music 


MAES, NicHOLAS 
Portrait of a Lady 
Child with Dog 


CATALOGUE 
NUMBER 


37 


16 


17 


24: 


51 


31 


36 


38 


55 


35 
48 


MARIS, Jaxon 
Along the Quay 


MAUVE, Anton 
Along the River 


PERUGINO, Pierro (Attributed) 
Saint Sebastian 


POTTER, Pavutus 
Cattle in Pasture 


RENI, Guo 
St. Mary Magdalene 


REYNOLDS, Sir Josnva, P.R.A. 
Landscape 
Portrait of a Man 


RUBENS, PEter Pavun 
Study of a Man 


SCOOREL, Jan 
The Adoration of the Kings 


SOUTH GERMAN SCHOOL 


Saint Jerome 


SPANISH SCHOOL 
The Virgin Praying 


STEEN, Jan 
The Wandering Musicians 


TENIERS, Davi (THE YounGcER) 
Interior with Figures 


TIEPOLO, Gtovanni Battista 
Saint Roch 


CATALOGUE 
NUMBER 


3 


54 


23 


28 


39 
AY 


11 


45 


20 


18 


43 


19 


CATALOGUE 
NUMBER 


TURNER, JoserH Matitorp WiuiaM, f.A. 


Ruins 5 

Towering Cliffs 6 

Cathedral in Ruins 7 
UNKNOWN 

Drinking Scene 25 


VAN CLEEF, Joos (THE Exper) 
Holy Family 12 


VAN CEULEN, Corneuis JANSSEN 
Portrait of a Man 4A 


VAN DER MEULEN, Anrorne FRANGoO!IS 
Landscape and Country Market 27 


VAN HAARLEM, CorneE .is 
The Jovial Company 15 


VAN HEMESSEN, Jan 
Madonna and Child 13 


VAN ORLEY, BARrEND 
Madonna and Child . 22 


VAN OSTADE, ApriaEen 
Peasants’ Repast 10 


VELASQUEZ, Don Dirco RopricuEz DE SYLVA Y 
(Attributed) 


The School Teacher 52 


VERKOLJE, NiIcHOLAES 
Interior with Figures 32 


WAEL, CorNELIS DE 
Attack on a Town 26 


CATALOGUE 
NUMBER 


SCULPTURES 


56 


58 


59 


60 


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